THE PRINTMAKING TODAY

Challenges, dialogues and mediation strategies

Probably everyone has already made a printmaking. Who has not left his footprints on the wet sand of a beach, played with stamps or scratched a crayon on a sheet with a coin below? Or even drew with graphite the texture of a leaf to the paper? Or even printed a digital photo of his baby son?
These and several other examples that can be performed by any person everyday (except maybe in the last), helps to demonstrate how the printmaking is present in our daily lives, even without perception that we are producing it or using it. It can be a conventional printmaking, in which we only transfer the texture of a surface to the paper, or a digital one in which we print a photographic picture to the paper, in both situations; we can say that we are making prints.
Printing, seems to be something easy and a commonplace as making an impression requires gestures so simple and so basic materials such as clay, the hand, pigments, moulds, cuts, corrosions, and so on. The word print covers so many practices and results that we can discover many printing processes in ancient times, such as the prehistoric engravings, the dinosaurs that left impressions in clay or just any fossil.
In fact, engraving is not restricted to think on paper, press, matrix, but we should have a wider
thought, for example, think of a contact that leads to the possibility of another way, a gesture that responds to another and this answer modifies and opens up, as if it were a thought, thinking engraving, as thinking drawing.
The thought cannot be described as thinking of engraving, but as engraving of thought, having the same plasticity, fluency and consistency of the movements in the engraving process.
As you can see, the complexity of the engraving processes, on printing items, contact, matrix, material, picture, are not only of retinal, technical, material or of materializing order, it leaves us in suspense about any rushed conclusion on this matter, by giving preference to a superficial look on what the print raises, going no deeper and understanding the physical and timeless horizons in its scope.
The wing of a dragonfly can be the fossilization most distant in time, but can also be connected with an overlay of contemporary features. An image can be exposed in a contradictory time in the same surface.
The different levels of our thoughts are also overlapping, as in the idea of anachronism that we work in the print sheets.
Looking at art as a thought engraving or as an engraving-thought and not wants to guide it to a purpose is an attempt to understand it through its plans. The print consists of several experiences: passages, stratums, artist proofs, unique pieces, color proofs, transfers, thoughts, feelings, impregnations, excavation, cracks, absences, shapes, cut-outs, distances, subtle, intense, overwhelming, velvety, sharp and a great multitude of many other contacts. The experience in printing becomes an experience, which creates an experience of tactile sensations and thoughts. What happens between the space of a surface and the matrix is a sort of entry of forces in the form of etching or engraving-thought. The perception of these forms produces new forces again. Thus, there must be a way of coming up the forms, a film, a plan or a skin where the energy of the pictures movement can flow.
All this complexity that the print (so simple in concept) causes expanded its action, becoming therefore an open work. It is in this way of thinking that new media can add and help to maintain the printing autonomy in the context of contemporary art. Despite the disapproval of some and the consent of others, the constructive dialogue or its total absence, the art of printmaking does not stop and continues its fearless and serene ride, dragging all their sponsored institutions. In fact, if the relationship between printmaking and photography, has motivated anger and discontent of many, today, in the XXI century, the hybridism of printmaking with other media intensified and caused new seizures and frictions undoubtedly even greater than before. The result from this were new types of printmaking, designs coming from offset printing, the urban printing, the multimedia installations, the digital computer compositions and printed on ordinary printers, the use of programs and software such as Photoshop or Corel Draw.
By combining today with these new digital media, consequently resulting new visual experiences with renewed potential for printmaking. Its matrix which was once made of metal, wood or stone, now acquires insubstantial characteristics of digital representation and the pixel of the image replaces the point, the line and the shadow printed by the physical action of the printer, or by alchemical means of acids and varnishes, integrating virtual images in computerized programs, leaving the paper, out of the process. The result of these media symbioses can take the form of installations, digital images, web art, among others.
This new contemporary reality promoted in printmaking the passage of the graphic visual image, printed in paper to a virtual visual image that exists primarily on computer monitors. This transition to the virtual is a bit drastic, because it transits from the weight of the ink and paper’s atom to the weight of virtual images,
i.e. to the virtual of bits and pixels, from the material to the energy and this is, in fact, a drastic change.
The printmaking artist today, in a sense, is faced with the virtual that is presented as an apparently rectangular window (the computer screen), as a new version of the pictorial space, but that is not, since the processing elements, the handling of the plastic parts, the dimensions that are involved go far beyond the two dimensions of the white page of the paper and the individual using these new media is faced with truly unexpected situations. This “lightness” in creative expression, without material, gives to the experimentalist creation a registry key to its strong contemporary times, reminding automatically the spaces of the “empty” and approaching its operational in between, the concepts of “Open Work” Umberto Eco, or the paradigmatic concepts of the contemporary art theorized by Rosalind Krauss who tells us of that conquest of the art of the empty space and the lack of work.
This new digital picture invades our everyday culture, expressing its avant-garde in museums and galleries of contemporary art, in the urban areas in the form of public art and in biennials and dedicated to it, being alive and in constant transformation, as it was always in its history. It shows up as “open work” again, not by closing its confrontations in itself and always allowing the artist or the spectator to innovate
and to improve new possibilities in its dialectic. This operative revolution, in which the printmaking survives, conquering new spaces for contemporary issue, is contrary to those who annihilate it and call it, unfairly, as a minor art. Maybe they do not realize its crucial contribution in the history of art and of mankind, so they see it just like that craft art at the service of the press, not understanding or knowing the steps it has taken toward its autonomy.
It appears then that the world of printmaking has always highlighted the changing of the graphic printing process throughout the history of art, sometimes nearer the traditional prints, sometimes more distant and in deep rupture. As shown, by analyzing the most important print works and its evolution to the present day, it outlined a path towards a move that expands its boundaries, not in a subversive way, but consistent with its need of autonomy and livelihoods while living art. The big challenge for the printmaking, either traditional or hybrid, is therefore in keeping alive the historical conditions of its genesis, without renouncing to the changes dictated by the evolution of the history of art, self-valuing with these contemporary contributions.
Only then, it can claim an important role similar to that of the other languages.
The artists and the institutions do not have to follow an imposed code. People change, the world changes, the worldview changes and the art adapts to the changes and gives its contribution to improving the world and the society, the man inside and also outside. This enhancement of sensitivity is an open project, which does not need to follow a specific code, nor is so dependant on artistic languages or technical issues.
Today in art we face new processes of industrial and electronics production of massive international movement and, consequently, new kinds of reception and appropriation. To the extent that the growing domination of man over those endless media, operates a change in man himself and in the perception of what he produces. The key is, then in the process of selecting and interpreting the information.
The Events and the art biennials can provide this key, the interface between the scholarly and the everyday knowledge. This key can materialize through clearer information to different audiences on aspects related to the messages of art exhibited, the fundamentals of the chosen topics, the controversies and political, social and cultural relevancies raised for their actions in society, by the use of new audiovisual technologies which penetrate more easily in public less alert and eager for more interactive stimuli.
The dialogue with the art goes beyond the experimental exercise, becoming an aesthetic pleasure in the life of man, in the way that if someone can be educated through art, because it can make us better people and show that there are many worlds beyond our navel. In this sense, it is essential for greater public information, finding ways to match their understanding, not answering questions with more questions, conduct public meetings with information of the artists explain and justify the reason for the choices and mainly, to return to the public the opportunity to rediscover the wonder, the perception that comes from the contemplation of an object that reconciled the perfection of the form with the perfection of the idea.
Today we need the exercise of admiration, of the empathy. Something very different from the noise and the banality of everyday life, the easy and disposable solutions of the “shopping centre” culture.
Finally, invite local artists to mingle with artists from abroad to a mutual understanding, have a concern with the social and socializing issue not only for the organizers but also for art producers: the artists and their interaction with the public.
All these considerations are attempts to understand our world so fragmented and the role of the art biennials should be in my point of view, precisely in this line of the overall decoding of art and the complexity of the contemporary societies. Without presenting a conclusion too objective, a task almost impossible in terms of art, without finding a formula to solve the issues raised, it seems to me that it is necessary a reflection about printmaking in an expanded way, pointing out several perspectives to the livelihood and the autonomy of the printmaking as a traditional technique, but also about the advantages of it combines with other languages. It is precisely in the balancing on this line of confrontation and through the “juggling” of creative artists, that the printmaking can find its circus and project itself without ambiguity or inferiority in the context of the contemporary art. The Curator, Nuno Canelas

8th Printmaking Biennial of Douro Catalogue

The 8th Biennial of Douro without limits.

Based on the oldest demarcated wine region in the world - the Douro and
winner of two heritages of humanity granted by UNESCO is world renowned
both for its vineyard landscape and for the archaeological heritage of
the Côa Valley. Here is the largest sanctuary of Paleolithic engraving
of the world, but the Douro is also in the contemporary scene one of the
biggest events of graphic art in the world, creating a strength and
dimension that goes beyond the borders of the country and is projected
for infinite horizons.

Read more...

Pursuing this aim and ambition achieved, the Biennial of Douro has
overcome the challenges of interiority, the economic crisis, the
cultural crisis, the engraving crisis itself and it has kept alive the
assumptions of the art and the autonomy of the printmaking in the
context of the contemporary art. To this end, have contributed the
traditional printmaking and its secular alchemy, but also, the renewed
trend of digital printmaking and the new media at their disposal, in
order to give it the autonomy it needs to survive. The open field to the
printmaking by the new hybrid languages and nontoxic techniques, have
designed it impact in an innovative way and with the vitality so long
desired in its fields.

The Curator, Nuno Canelas

Global Event

There are over two hundred biennials in the world, but it is not every city that can hold a Biennial.It is necessary for a biennial to born and to grow, a clear awareness that the issue of the identity more... in the contemporary world has other problems that go beyond national or regional identities. The construction of this identity is much more complex than the question of the nation or of the region.
A touristic region as the Douro, needs an International art Biennial that confirms internationally it's modernity and entrepreneurship.

The Best Artists

Assuming the responsibility of being the unique Biennial of graphic work of the country, its evolution since its origin in 2001, placed it on an unimaginable level today, abreast of the most important biennials in the world. more... To prove this, we highlight the exhibition tribute to world-renowned artists such as Antoni Tàpies, Paula Rego, Vieira da Silva, Octave Landuyt, Gil Teixeira Lopes, David de Almeida and others, but also by the breadth and internationality reached with more than 1.000 artists form 100 countries represented from all continents.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

International Exhibition with many different techniques of the traditional etching, but also many new techniques from the digital world and new media, installations, etc. A great number of the best artists in the world, show the open space of the new printmaking tendencies, the hybrid techniques, the “Non toxic” etching and here innovation impact in the contemporary art world.

He studied in Florence where he attended the Course of Painting at the Academy of Fine Arts getting his degree in 1990; in the same year he began working as a painter and engraver. His first solo exhibition took place in 1991 at Palazzo Datini in Prato, Italy.
In 1992 he was awarded a scholarship to specialise at "Il Bisonte", the School of Graphic Arts in Florence, and in 1993 he worked as an assistant of Maestro Viggiano, in the same school. In the same year he began to exhibit his works in several art exhibitions.
In 1994 he was invited to take part in the 'World Triennial Engraving Exhibition' in Chamalières (France), and in the same year he won the '14th edition of Mini Print International', in Cadaqués (Spain).
From 1994 to 1997 he was invited to several outstanding national and international exhibitions such as the '21st and 22nd International Biennial Graphics Exhibition' in Lubiana (Slovenia), The International Award in Graphics Arts in Biella (Italy), the Ibiza Biennial in Spain, the Cracow Triennial Engraving Exhibition in Poland, the Stedeliske Museum of Sint Niklaas, Belgium, as well as the International Graphics Exhibition in Bitola (Macedonia), Kharkiu (Russia), Uzice (Croatia), Györ and Budapest (Hungary).
In 2001 he received an award from the National Museum of Modern Art, Tokyo at the International Exhibition of Prints in Kanagay, and an award from the City Museum of Györ in Hungary. He received the Leonardo Sciascia "Amateur d'Estampes" award in 2007, and the Grand Prize at the Ural Print Triennial in Russia. In 2009 he received the Grand Prize at the 2nd Bangkok Triennial International Print and Drawing Exhibition in Thailand. He was invited to exhibit at the Sicilian Pavilion at the 54th Venice Biennale in 2011.
In 2007 he received the first prize at the International Biennial of Engraving of Acqui Terme. in 2011 he was invited to the World Plate and Print Art Exhibition Millennial Wind, in the temple of Buddhist Tripitaka, in South Korea.
He was also invited – as the only Italian representative – to take part in the '4th Sapporo International Biennial' in Japan, in the 'Triennial Graphics Exhibition' in Tallin (Estonia) and in the 'Beijing Ex Libris International Show' in the People’s Republic of China, and to the 54th Venice Biennale.
On several occasions he exhibited with the "Gruppo di Scicli", a group of important and renowned Sicilian artists.
Currently, he is professor of engraving at the Academy of Fine Arts in Palermo. He lives and works in Ragusa

Pierre Granger
Born in Algeria on 21st. of June 1935. The artist is now living in Brive-la-Gaillarde (France).
After a career as a German teacher he is now retired. He has devoted himself to engraving since 1988.
His techniques are traditional: etching, dry point, linocut and occasional mezzotint, but he has also been experimenting other printing processes.
His work has been displayed in group exhibitions, both in France (at the triennial “Small Engraving” events in Chamalières among others) and abroad in his own exhibitions in France in Austria and in the Czech Republic, winning several awards.
His themes are various (mythology, celebration of the tree, travels about the world for discovery, dreams of human conquests). Once selected, each theme is interpreted in several engravings, each one displaying a different approach, a different development.
He Participated in the Douro Biennial without a single exception, since its first edition in 2001 and then received a Honourable Mention from the International Jury.

Celeste Cerqueira (1967) is an artist and develops work in the field of visual arts . Has a Masters in Visual Arts - Intermediate University of Évora with the thesis " The interdisciplinarity in some contemporary works of art" (2007). In this context, its theoretical and practical production includes new features and artistic practices such as promotion of the group "What is Watt ?" (since 2001) and most recently co- produced the Virtual Biennale presented in Vila Nova de Cerveira and the Biennale Douro Engraving.
Lately it has been invited to participate in various exhibitions, which highlight the collective exhibition “Bienal da Maia – Lugares de Viagem” in the Maia Forum, presented the installation work "Our edges" and "Paradise" and the collective exhibition "Desobedoc – mostra de cinema insubmisso" in Cinema Batalha curated by José Maia, presented the installation "When is tomorrow?". This year participated in the exhibition "Um par = um ímpar" with the artist Silvestre Pestana at the Museum Teixeira Lopes (V. N. Gaia) and the exhibition "Em construção" with the artist Pedro Ruiz in Espaço Mira and curated by José Maia.

Rania (Ourania) Schoretsaniti was born in Trikala, Greece. She is an icon painter with artworks in the monasteries of Meteora, Greece, as well as a painter and printmaker. She is educated in the School of Fine and Applied Arts at the University of West Macedonia, Greece, where she had tutors such as Yannis Ziogas in Painting and Dimitra Siaterli in Engraving. She spent, as an Erasmus student, one semester (six months) in a NHL Hogeschool, The Netherlands. She continued her studies in engraving at Athens School of Fine Arts, where she had tutor Biki Tsalamata. At present, she studies at MFA of Slade School of Fine Arts, University College of London, where she has tutor as Edward Allington and Lisa Milry. Exposes in solo and group exhibitions, Greek & international exhibitions. Her works can be founded in museums and private collections in Greece and abroad.

Born in Funchal (1949), Silvestre Pestana distinguished himself in the ´7OS on the art scene in Oporto, developing work that used collage and calligraphy. Recently, the artist has shown a recurring interest in performance and light, integrating it with objects to emphasis, in the context of exhibition spaces, the presence of startling sculptural shapes.
The artist has exhibited his work, throughout his career, in places such as Sociedade Nacional de Belas-Artes in nLisbon, Cooperativa Árvore, Galeria Quadrum, Galeria Alvarez and Museum of Electricidade in Oporto and he was contemplated this year with a big retrospective from his work in the Serralves Contemporary Art Museum in Oporto.
The project Public Gallery for Digital Arts project dates from 2005 and participates again in this 8th Printmaking Biennial of Douro with digital works to be presented in three public panels, for the visualization of the artists’ works who submitted their files by web. In this event were invited the avatars artists Oume El Banine Slaoui (Tunisia), Ayelet Amit Yehudai (Israel) e Daniela Steele (Brazil). The works of these participant artists integrate in the dynamics previously promoted consisting of materializing the uniqueness that the new communication technologies allow, in particular the contact at a distance and the active participation in the construction of virtual worlds recognizable in online games.